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String Quartet: 2 violins, viola, cello
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You've selected:
Double or Nothing: String Bass
Sheetmusic to print
14 sheet music found
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1
Double or Nothing: String Bass
Doublebass (band part)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017168_SB String Bass. Compo…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017168_SB String Bass. Composed by Mike Lewis. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017168_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017168_SB). UPC: 038081374987.This title is available in SmartMusic.
$3.00
2.77 €
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Doublebass (band part)
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Mike Lewis
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Double or Nothing: String Bass
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
My Hope Is Built On Nothing Less (String Orchestra or Quintet)
String Quintet: 2 violins, viola, cello, bass
String Ensemble,String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download…
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String Ensemble,String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1081792 Composed by William B. Bradbury. Arranged by B. C. Dockery. Sacred,Spiritual,Traditional. Score and parts. 7 pages. Ben Dockery #685921. Published by Ben Dockery (A0.1081792). Also known as The Solid Rock. Arranged for string orchestra or quintet: 2 violins, viola, cello, and bass. Great for church services and recitals. Easy intermediate level. Includes score and parts.
$8.99
8.29 €
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String Quintet: 2 violins, viola, cello, bass
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William B
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My Hope Is Built On Nothing Less
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Ben Dockery
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SheetMusicPlus
Nothing but the Blood - for beginning string bass with optional piano accompaniment
Double bass, Piano (duet)
Double Bass,Piano,String Bass - Level 1 - Digital Download SKU: A0.562536 Composed …
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Double Bass,Piano,String Bass - Level 1 - Digital Download SKU: A0.562536 Composed by Robert Lowry. Arranged by Samuel Stokes. Children,Christian,Easter,Sacred. Score and part. 3 pages. SamuelStokesMusic.com #5825297. Published by SamuelStokesMusic.com (A0.562536). This is an arrangement of Nothing but the Blood for beginning string bass with optional piano accompaniment. This is a great piece for church or for beginning student recitals! Learn more about Samuel Stokes at https://www.SamuelStokesMusic.com.
$4.99
4.6 €
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Double bass, Piano (duet)
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Robert Lowry
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Nothing but the Blood - for beginning string bass with optional piano accompaniment
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SamuelStokesMusic.com
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SheetMusicPlus
Nothing Compares (Anthem) - Orchestration
Large Ensemble Choir - Level 3 - Digital Download SKU: A0.747194 Composed by Christ…
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Large Ensemble Choir - Level 3 - Digital Download SKU: A0.747194 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 92 pages. Christopher Brown #4601913. Published by Christopher Brown (A0.747194). About the song: This anthem begins by compelling the listener and the performer to consider the parable of the hidden treasure and the pearl. The second verse reflects on David's superlative description of God's Word in Ps. 19. In his letter to the Philippians, Paul speaks of the surpassing worth of knowing Christ when compared to everything else in this life. The lyrics of this song are intended to echo these Truths, encourage the believer, and testify to the incomparable gift of entering into the Kingdom of God, understanding His Word, and being strengthened and set free to do the good works that He prepared in advance for us to do.Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.Included in your Purchase:Full ScoreChoral Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1Like a treasure in a field,Is the matchless worth of Christ.For the kingdom of heaven, I give my life.Like a pearl of great value,Perfect and pure.I leave it all behind ‘cause of this I’m sure.Chorus 1He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Verse 2More precious than gold,Is the Word of the Lord.Greater and higher than anything this world affords,It is sweeter than honey,Straight from the comb.My delight is in Jesus, I no longer walk alone.Chorus 2He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my crossAnd I count it all as lossNothing compares to what I have in the Lord.Bridge (x2)In the Lord I find strength for every day, In the Lord every fear is washed away.In the Lord hope and peace are here to stay,Whatever comes my way, I will lift my voice and say.Key ChangeChorus 3He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Nothing compares to what I have in the Lord.Nothing compares to what i have in the Lord.
$49.99
46.09 €
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Christopher R
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Nothing Compares
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Christopher Brown
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SheetMusicPlus
Nothing but the Blood (Orchestra and Rhythm Section)
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.492450 By Scott Harris. By Robe…
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Full Orchestra - Level 3 - Digital Download SKU: A0.492450 By Scott Harris. By Robert Lowry. Arranged by Scott Harris. Contemporary,Pop,Praise & Worship,Sacred,Spiritual. Score and parts. 52 pages. Scott Harris Music #107711. Published by Scott Harris Music (A0.492450). Modern arrangement of this classic hymn for Full Orchestra and Rhythm Section. Instrumentation: flutes, oboe, clarinet 1&2, bass clarinet, bassoon, horns 1&2 (alto sax double), trumpet 1&2, trombone 1-4, percussion 1-3, timpani, harp, electric guitar, rhythm section, drum set, violin 1&2, viola, cello, string bass, keyboard string reduction. Sheet Music Direct: Click HERE for Accompaniment Perc./Loop track!Sheet Music Plus: Click HERE for Accompaniment Perc./Loop track!Approximate Performance time: 2:38 For comments, questions, or special requests, please email me at scott@scottharrismusic.com or visit my website at www.ScottHarrisMusic.com.
$59.99
55.31 €
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Orchestra
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Scott Harris
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Nothing but the Blood
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Scott Harris Music
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SheetMusicPlus
Nothing More to Say
String Quartet: 2 violins, viola, cello
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - Digital Download …
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1231725 Composed by Paul Brooks Horn. Arranged by Paul Brooks Horn. 21st Century,Chamber,Classical,Contemporary,Traditional. 9 pages. Paul Brooks Horn #827427. Published by Paul Brooks Horn (A0.1231725). Originally written for solo guitar, this piece has been adapted for string trio or quartet (with the optional contrabass). For the classical guitar, this piece would be considered an intermediate to lower advanced arrangement. I'm not sure how a string player would rate it. I can't imagine that it's much more than intermediate.
$12.99
11.98 €
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String Quartet: 2 violins, viola, cello
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Paul Brooks Horn
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Nothing More to Say
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Paul Brooks Horn
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SheetMusicPlus
Moonlight Sonata by Beethoven for String Ensemble
String Quartet: 2 violins, viola, cello
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 2 - Digital Download …
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1173852 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,Instructional,March,Romantic Period. 12 pages. Woods Only, Arrangements #774005. Published by Woods Only, Arrangements (A0.1173852). This arrangement adapted for string ensemble was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice.Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$7.99
7.37 €
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String Quartet: 2 violins, viola, cello
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Ludwig van Beethoven
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Moonlight Sonata by Beethoven for String Ensemble
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Woods Only, Arrangements
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SheetMusicPlus
The Best of Amphibia
Large Ensemble,Strings Bass Voice,Double Bass,Drum Set,Drums,Electric Bass Guitar,Flute,Ha…
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Large Ensemble,Strings Bass Voice,Double Bass,Drum Set,Drums,Electric Bass Guitar,Flute,Harp,Horn,Organ,Percussion,Piccolo,Synthesizer,Trombone,Trumpet - Digital Download SKU: A0.1202788 Composed by Amphibia Cultural Legacy. Arranged by Amphibia Cultural Legacy. Broadway,Classical,Film/TV,Folk,Musical/Show,New Age. Score and parts. 7 pages. Amphibia Cultural Legacy #801551. Published by Amphibia Cultural Legacy (A0.1202788). Amphibia Cultural Legacy has released an orchestral cover of the hit song Red Peony by Jiang Dawei, and it is nothing short of spectacular. The remixed version features additional instruments that elevate the original track. The Best of Amphibia is a stunning tribute to the original song and its creators.The arrangement for this orchestral cover was masterfully executed, with each instrument adding depth and complexity to the music. Every note, from the soaring strings to the thunderous percussion, was perfectly placed to create a truly unforgettable listening experience. Amphibia Cultural Legacy poured its heart and soul into this project, as evidenced by how seamlessly all elements come together in harmony.If you're a fan of Red Peony or appreciate beautiful music, then you owe it to yourself to listen to The Best of Amphibia.
$70.00
64.53 €
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Amphibia Cultural Legacy
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The Best of Amphibia
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Amphibia Cultural Legacy
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SheetMusicPlus
Teddy Bear DX
Strings Bass Voice,Clarinet,Digital Keyboard,Double Bass,Drum Set,Drums,Electric Bass Guit…
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Strings Bass Voice,Clarinet,Digital Keyboard,Double Bass,Drum Set,Drums,Electric Bass Guitar,Electronic Keyboard,Harp,Horn,Marimba,Medium-High Voice,Oboe,Percussion,Piano and Keyboard,Piccolo,Rhythm Instrument,Synthesizer,Treble Clef Instrument,Tuba,Vibraphone,Xylophone - Digital Download SKU: A0.1207452 Composed by Amphibia Cultural Legacy. Arranged by Amphibia Cultural Legacy. Broadway,Children,Christian,March,Musical/Show,Traditional. 3 pages. Amphibia Cultural Legacy #805619. Published by Amphibia Cultural Legacy (A0.1207452). Amphibia Cultural Legacy has dropped a DX version of the classic Teddy Bear song, and it is nothing short of amazing. This cover, remixed with an orchestra and additional instruments in Little Fox - Kids Songs and Stories' style, is bound to be a hit among children everywhere. The DX version takes this beloved tune to new heights, providing a fresh take on the classic.The remastered track features all-new instrumentation that effortlessly blends to create a truly magical listening experience. From the soaring strings to the playful woodwinds, every note comes together perfectly to create an enchanting and uplifting sound. And while the song aims at kids, there's plenty here for adults to enjoy, especially if you're a fan of classical music or modern covers with orchestral arrangements.
$60.00
55.31 €
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Amphibia Cultural Legacy
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Teddy Bear DX
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Amphibia Cultural Legacy
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SheetMusicPlus
Afternoon Tea
String Quartet: 2 violins, viola, cello
String Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.786…
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String Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.786008 Composed by Andrew R. Guarrine. Contemporary. Score and parts. 10 pages. GuarrineMusic #6119189. Published by GuarrineMusic (A0.786008). Afternoon Tea To me, there is nothing more peaceful than having an afternoon cup of tea in the key of D with only quarter, half and dotted-half notes. This original uses a simple melody that is passed between the violins (violin 1 plays up to high A) with counter-lines traded between all the parts. Listen as the colors change with instruments playing, being silent, doubling and independent lines. A gentle selection for that breath of fresh air during any performance. Very playable by orchestra or quintet. Key of D Grade 2+
$12.95
11.94 €
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String Quartet: 2 violins, viola, cello
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Andrew R
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Afternoon Tea
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GuarrineMusic
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SheetMusicPlus
Kiss of Love
String Orchestra
String Orchestra - Digital Download SKU: A0.984562 Composed by Tito Abeleda. Contem…
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String Orchestra - Digital Download SKU: A0.984562 Composed by Tito Abeleda. Contemporary. Score and parts. 38 pages. Visionary Quest Records #6073207. Published by Visionary Quest Records (A0.984562). There is nothing like the kiss of love when you and another dare to express such an intimate act of a loving kiss, an extension of the growing bond you share with another that reflects the love you now share with each other. The depth of love's kiss whether experienced in the moment or in contemplation from a cherished memory is forever powerful and passionate. The Kiss of Love with its solo violins capture the loving emotions conveyed in this powerfully intimate piece. Kiss of Love composed by Tito Abeleda (1964 - ) Instrumentation: Piano, Glockenspiel, Violin Solo I, Violin Solo II, Violin 1-2, Viola, Cello 1-3, Double Bass. Level: Advanced Intermediate. Digital Download Score plus parts = 38 pages. Duration 3:33  MP3 is studio recording. Music Score Video is Sibelius Note Performer sound output.Special thanks for Sheet Cover photo by Marlon SchmeiskiEmail Tito Abeleda: tito@visionaryquestrecords.comPRO: BMI.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeledaInstagram: https://www.instagram.com/tabeledaYouTube: https://www.youtube.com/c/titoabeledaSpotify: http://bit.ly/TitoAbeleda-on-SpotifyiTunes/Apple Music: http://bit.ly/TitoAbeleda_iTunes
$15.00
13.83 €
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String Orchestra
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Tito Abeleda
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Kiss of Love
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Visionary Quest Records
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SheetMusicPlus
Elizabethan Serenade
Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.1112883 By Ronald Binge…
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Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.1112883 By Ronald Binge. By Ronald Binge. Arranged by Derek Hasted. 20th Century. Score and parts. 33 pages. Derek Hasted #714839. Published by Derek Hasted (A0.1112883). ELIZABETHAN SERENADE - 6 Guitars or 5+BassFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes Ronald Binge was a fantastic composer, but few people know of his works. He worked as an arranger for Mantovani, and was, they say, responsible for “The Mantovani Sound†- that cascade of overlapping waterfalls of strings. His Elizabethan Serenade is nothing less that utterly charming. My arrangement is modelled on the version I wrote for the Hampshire Guitar Orchestra (which played 4 different sizes of guitar). This arrangement is one tone higher, and fits nicely onto 6 classical or acoustic guitars (or a large ensemble). Guitar 6 is in treble and bass clefs, so one can substitute a double bass or electric bass, or thicken up the existing part with a deeper sound. My arrangement is mixed ability, almost all the music is early intermediate, but the top line is perhaps intermediate. There are plenty of dynamics which make the music come alive, but there is no fingering - almost all of it can be played in First Position, and a gentle mellow sound will create the most amazing accompaniment which the audience will be convinced has a hidden echo somewhere. When my guitar orchestra played this in concert, you could hear a pin drop - it is a wonderful piece and deserves to be played far more often. I hope YOU enjoy playing this piece!
$4.99
4.6 €
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Ronald Binge
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Elizabethan Serenade
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Derek Hasted
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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